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Journal articles on the topic 'Accordion and guitar music'
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Fikri, Kanzul. "Inovasi Proses Kreatif Rosette Guitar Quartet Di Era New Normal." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 4, no. 1 (2021): 53. http://dx.doi.org/10.26740/vt.v4n1.p53-57.
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Rosette guitar quartet is a guitar quartet group consisting of four guitar players and on originally the Rosette guitar quartet was performing classical guitar songs arranged in four guitars. Method in this research using an qualitative approach. Qualitative research tries to answer question rather than testing the hypothesis. This research uses creative process theory and innovations theory which consist of 4 types, namely (1) Discovery (2) Extension (3) Duplication (4) Synthesis. The Result of innovation made by Rosette guitar quartet are (1) Invention made by Rosette Guitar is creating a new process in the guitar quartet group perfoming songs in postmodern era and uploaded on social media, such as “Youtube”, (2) Development of the Rosette guitar expresses his works in social media, where to adjust the new habits to music enthusiast that can appreciate perfoming of Rosette by virtual. (3) Rosette Guitar duplicate the most successful musicians used to express and maximize each his work in “Youtube” which gets a lot of appreciation (viewers) according to the new normal era. (4) The Rosette guitar perfoms synthesis with create new works every month and uploaded on “Youtube”. Collaborative creative process of this synthesis considered by Rosette guitar quartet as great opportunity to music works, expression as well as new innovations in industry creative in the new normal era.Keywords: Innovation, Creative Process, New Normal.
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Bashmakova, Natalia, and Liliya Bakalinska. "„HOMMAGE A PACO” BY FRANK ANGELIS IN THE CONTEXT OF CONTEMPORARY TRENDS OF ACCORDIONAL ART." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 102–10. http://dx.doi.org/10.33287/222009.
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The purpose of this research is to identify the specificity of pop and jazz stylistics as one of the characteristic trends of modern accordion art, using the analysis of the composition „Hommage a Paco” by Frank Angelis. The methods of the proposed scientific article are based on the use of research approaches (genre, style, textual, analytical), which allow to identify the specific embodiment of trends in the current stage of the development of accordion art in the modern repertoire. Scientific novelty. Despite its widespread use in practice, Frank Angelis’s composing work has not been subject to scientific understanding; in particular, his work has not been analyzed in detail in contemporary Ukraine. Conclusions. As a result of the analysis of Frank Angelis’s „Hommage a Pacco”, it was founded that the specificity of the formation is coordinated by the principle of double-frequency (the first part has an expositional character, the second – jazz-improvisational); the individuality and expressiveness of the aesthetics of the theme are determined by the dances of the famous Spanish virtuoso guitarist Paco de Lucia (Allegres, Bulires and Tangos), which underlie the work. The specificity of the harmonic plan is mainly based on alternate septaccords and noncords, and the thematicism is modified by texturing. The dedication to the creator of the „new flamenco” style is reflected in a diverse palette of playing tools, most of which mimic the specificity of guitar techniques (so the specific accordion tremolo gives the music material an expressive, precise, more sonorous sound – the color of the flamenco, and creates an invoice-like texture). Also in the melodic line are reflected specific guitar techniques, including „long picado”, „rasgeado”, „alsapua”. A peculiar feature of the composer’s style is the use of jazz elements such as: „quasi-improvisation”, „mini-solo”. Combining music from different directions, F. Angelis created the unique composition, giving it the characteristic features of Spanish flamenco and jazz music.
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Rauter, Branislav. "Kitarske šole slovenskih avtorjev od Adolfa Gröbminga do Stanka Preka / Guitar Schools by Slovenian Authors from Adolf Gröbming to Stanko Prek." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, no. 33 (2021): 109–30. http://dx.doi.org/10.26493/2712-3987.16(33)109-130.
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The main purpose of the article is to present textbooks for guitar written by Slovenian authors and published between 1925 and 1950. With basic instructions for playing in Slovenian and mostly domestic musical examples they satisfied the needs of selftaught people for the basics of guitar technique and chordal accompaniment to singing. The first textbooks were entitled Kitarska šola (Guitar School), the basic problems of the guitar playing were treated comprehensively and as such did not envisage continuation. In addition to the basics of the guitar playing, they also included music theory, which was essential for self-taught people without prior musical knowledge, as this was the only way they could follow the practical instructions for playing according to the musical notation. With the reintroduction of guitar teaching into public music education, textbooks were created from the end of the 1960s, entitled Začetnica za kitaro (The Textbook for Beginners) with sequels, and followed the guidelines and development of public music education.
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Gurgul, Wojciech. "A Panorama of Polish Guitar Concertos." Edukacja Muzyczna 15 (2020): 85–103. http://dx.doi.org/10.16926/em.2020.15.12.
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The present article constitutes an attempt at outlining the musical oeuvre of Polish composers in the field of concertos for guitar and orchestra. Since the 1940s, when the first concerto with a guitar part was created, more than 100 concertos have been composed in Poland. In an effort to write such a piece of music, composers discovered different creative paths, which often revealed various new colours of the guitar. The article discusses a proposal to divide the concertos created in Poland according to the specificity of the pieces, introduces the history of the first Polish concertos and paints a picture of guitar literature created by 2020.
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Kazaka, Lauma, and Ilze Vilde. "Applicability of Digital Learning Strategy “Start Playing the Guitar!” in Solfeg.io Music Education App." International Journal of Smart Education and Urban Society 12, no. 3 (2021): 68–78. http://dx.doi.org/10.4018/ijseus.2021070106.
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The digitalisation of the music classroom has accelerated the development of learning tools that correspond to the mindset and lifestyle of digital generation. Current pedagogical approaches emphasize a diverse and multifunctional use of technology to study music theory, learn to play instruments, and create music on and offline. Solfeg.io music education app is designed according to principles of smart pedagogy that include criteria for a meaningful use of technology in the study process. The app has been developed to meet didactic, cognitive, socioemotional, and technical requirements that create a customizable, user-oriented experience in a pedagogically justified study environment. The digital learning strategy “Start playing the guitar!” (DLS) is designed for students without prior knowledge of playing the guitar. The purpose of the paper is to study applicability of DLS in learning the basics of playing the guitar. The paper contains an analysis of theoretical literature on a technology-enhanced pedagogical process, including the ideas of smart pedagogy and the basic didactic principles for developing digital education tools. The empirical study on the use of DLS includes pedagogical observation, respondent surveys, and analysis and interpretation of the obtained qualitative data.
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Anufrieva, N. I., and A. P. Efremenko. "Problem of Forming of Musical-Performing Competency of Pedagogue- Musicians on the Base of Vanguard Works for Folk Instruments." Uchenye Zapiski RGSU 19, no. 3 (2020): 68–75. http://dx.doi.org/10.17922/2071-5323-2020-19-3-68-75.
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the article highlights the problems of developing the teacher-musicians’ performing skills on the material of works of avant-garde composers for folk instruments and proposes ways to solve them. Folk instruments and avant-garde music are still perceived as incompatible phenomenaby many contemporaries, and educational programs in the field of training “Pedagogical Education” (profile “Musical Education”) inherit the traditional approach, which implies the mastery of folk instruments by performers, primarily the classical repertoire, closely related to Russian folk culture. As a result, avant-garde compositions for an accordion or guitar remain out of the attention of both university teachers and their pupils, future specialists in the field of music pedagogy and cultural and educational activities. Conclusions of the study: it is necessary to change the attitude towards folk instruments and the educational potential of avant-garde music for folk instruments; training programs require improvement in the content and composition of disciplines, among which the analysis of musical works and the art of interpretation deserve particular attention; in the teaching methodology, preference should be given to the problematic method and the practice-oriented approach.
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Jin, Cong, Tao Wang, Shouxun Liu, et al. "A Transformer-Based Model for Multi-Track Music Generation." International Journal of Multimedia Data Engineering and Management 11, no. 3 (2020): 36–54. http://dx.doi.org/10.4018/ijmdem.2020070103.
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Most of the current works are still limited to dealing with the melody generation containing pitch, rhythm, duration of each note, and pause between notes. This paper proposes a transformer-based model to generate multi-track music including tracks of piano, guitar, and drum, which is abbreviated as MTMG model. The proposed MTMG model is mainly innovated and improved on the basis of transformer. Firstly, the model obtains three target sequences after pairwise learning through learning network. Then, according to these three target sequences, GPT is applied to predict and generate three closely related sequences of instrument tracks. Finally, the three generated instrument tracks are fused to obtain multi-track music pieces containing piano, guitar, and drum. To verify the effectiveness of the proposed model, related experiments are conducted on a pair of comparative subjective and objective evaluation. The encouraging performance of the proposed model over other state-of-the-art models demonstrates its superiority in musical representation.
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Meagher, David James, Ian Murphy, Mary Mulligan, Pollyanna Bolger, Aoife Leahy, and Hilary Moss. "Developing an air guitar group for an inpatient psychiatry unit." Music and Medicine 12, no. 4 (2020): 237. http://dx.doi.org/10.47513/mmd.v12i4.712.
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The phenomenon of air guitar has become increasingly popular in mainstream society and recognised as a potential means of enhancing one’s sense of mental well-being. It allows for engagement with music that involves physical activation and can be conducted in groups allowing for non-verbal socialisation. To date, there has been limited examination of its potential usefulness in therapeutic settings, including in mental health services. We describe the development of an air guitar group in an inpatient psychiatry service including an iterative approach to the design of sessions and the impact in terms of patient engagement and feedback. The format of the group evolved over time according to feedback from participants and staff involved in patient care on the unit. We found that the group successfully engaged patients of varying age, gender and diagnostic profiles and was perceived as a valuable addition to the inpatient therapeutic programme. Based upon our observations during this pilot study, we outline a suggested format for air guitar sessions that includes our experiences around selection of music, duration of sessions, use of props, managing the physical demands of sessions and ensuring participant safety. Future work can investigate the impact of air-guitar as a therapeutic activity in other settings (including community-based) and exploring how it can be best applied in combination with other therapeutic modalities for use in patients with differing diagnostic and demographic profiles.
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Zorzal, Ricieri, and Oswaldo Lorenzo. "Teacher–student physical contact as an approach for teaching guitar in the master class context." Psychology of Music 47, no. 1 (2017): 69–82. http://dx.doi.org/10.1177/0305735617737154.
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In this study, the role of physical contact between teachers and students in the process of teaching guitar was investigated in the master class context. Thirty-five videotaped guitar master classes were classified into five groups according to student performance level. The musical topics studied in these classes were categorised, and all moments of physical contact between teachers and students were identified. Analyses of variance and non-parametric tests were used to determine the relationship between use of physical contact as a teaching approach and student gender, student performance level, the teacher giving the lesson, and topic presented by the teacher. The results indicated that physical contact was significantly related to the teacher giving the lesson and to guitar performance topics of “nails”, “muscle relaxation”, and “body posture”. However, of these three topics, only “body posture” was significantly related to students’ performance level. Ultimately, the results suggest that the topic presented by the teacher is helpful in determining the gestural behaviour of teachers in a musical instrument class.
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Kennedy, Victor. "Musical Metaphors in the Poetry of Wallace Stevens." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (2016): 41–58. http://dx.doi.org/10.4312/elope.13.1.41-58.
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Wallace Stevens’s “The Man with the Blue Guitar” (1937) is widely recognized as one of the most important and influential poems of the 20th century. Inspired by Picasso’s painting The Old Guitarist, the poem in turn inspired Michael Tippett’s sonata for solo guitar, “The Blue Guitar” (Tippett 1983) and David Hockney’s The Blue Guitar: Etchings by David Hockney who was inspired by Wallace Stevens who was inspired by Pablo Picasso (Hockney and Stevens 1977). Central to “The Man with the Blue Guitar,” the metaphor of the musical instrument as a transformational symbol of the imagination is common in Stevens’s poems. The structure of “The Man with the Blue Guitar,” according to J. Hillis Miller, is the structure of stream-of-consciousness. Stevens’s poem creates what has been called “the deconstructed moment in modern poetry,” “an attempt to project a spatialized time that can be viewed from the privileged position of a timeless, static moment capable of encompassing a life at a glance” (Jackson 1982). This consciousness, which Derrida refers to as the “trace,” Stevens calls “the evasive movement of language.” The trace is the perception of the absence of meaning after the word or perception has passed, the glimpse of a hidden meaning that immediately vanishes. Stevens’s poem influenced not only other poets, artists and composers; references to and echoes of his ideas and techniques can be seen in popular music and culture well into the 21st century.
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Asaulyuk, I. O., та A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания". Health, sport, rehabilitation 5, № 1 (2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.
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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>
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VERA, ALEJANDRO. "THE CIRCULATION OF INSTRUMENTAL MUSIC BETWEEN OLD AND NEW WORLDS: NEW EVIDENCE FROM SOURCES PRESERVED IN MEXICO CITY AND LIMA." Eighteenth Century Music 12, no. 2 (2015): 183–96. http://dx.doi.org/10.1017/s1478570615000299.
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ABSTRACTThis article deals with the circulation of instrumental music between Spain and the New World at the end of the eighteenth century, focusing on Madrid, Mexico City and Lima as main urban centres. By analysing archival documents preserved in these cities, I intend to show that the baroque guitar music composed and copied in Madrid was also intended to be a commercial concern in Latin America (particularly in Mexico City and Lima), and that its cultivation in the New World lasted for a long time, even through to the beginning of the nineteenth century, thus coexisting with music by Johann Christian Bach, Boccherini, Cannabich, Haydn and other ‘modern’ composers. These assertions are reinforced through an examination of two musical manuscripts copied in Lima around 1800, which also shows some of the changes undergone by the repertory during its complex process of reception. I conclude by suggesting that, in the light of all this, a linear and evolutionary view of music history, according to which new repertories replace older ones, should be reconsidered.
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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.
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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.
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Criswick, Mary, and Wolf Moser. "Guitar Music." Musical Times 127, no. 1720 (1986): 443. http://dx.doi.org/10.2307/965165.
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Stimpson, Michael. "Guitar Music Surveyed." British Journal of Music Education 6, no. 3 (1989): 328–29. http://dx.doi.org/10.1017/s0265051700007373.
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Criswick, Mary. "Guitar." Musical Times 128, no. 1733 (1987): 392. http://dx.doi.org/10.2307/964544.
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Wade, Graham. "Guitar." Musical Times 129, no. 1744 (1988): 306. http://dx.doi.org/10.2307/964893.
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Wade, Graham. "Guitar." Musical Times 131, no. 1767 (1990): 273. http://dx.doi.org/10.2307/966167.
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GOLDMAN, JONATHAN. "Gérard Grisey, Accordionist." Twentieth-Century Music 15, no. 1 (2018): 11–29. http://dx.doi.org/10.1017/s147857221800004x.
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AbstractIt is tolerably well known that Gérard Grisey's first instrument was the accordion, but little has been written about the influence the pioneering spectral composer's main instrument had on his compositional language. The decade of the 1960s was marked by the centrality of the accordion and saw the completion of his first youthful compositional essays, most of which were scored for the accordion. It was also the period in which he studied at a school devoted to the accordion, in Trossingen. Later, when studying with Messiaen in Paris, Grisey distanced himself from the accordion, writing in 1969 that ‘I am not playing accordion anymore. My way is another one.’ After establishing the chronology of Grisey's engagement with the accordion, this article assesses the extent to which the spectral composer's training on the accordion left traces in his mature compositions and raises questions about the standard historiographies (and geographies) of French spectral music.
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Ruiz-García, Juan, Irene Canal-Fontcuberta, Paloma Ávila, David Martí, and Eduardo Alegría-Barrero. "Accordion music from the heart." Coronary Artery Disease 28, no. 7 (2017): 624. http://dx.doi.org/10.1097/mca.0000000000000506.
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Anjum, F., Senthy Sellaturay, Howard Marsh, Ian Dickinson, and Seshadri Sriprasad. "Accordion—Music to the endourologist." British Journal of Medical and Surgical Urology 4, no. 5 (2011): 225. http://dx.doi.org/10.1016/j.bjmsu.2011.06.024.
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Criswick, Mary. "Guitar Songs." Musical Times 126, no. 1703 (1985): 33. http://dx.doi.org/10.2307/962449.
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Criswick, Mary, and Werner Schwarz. "Guitar Selection." Musical Times 126, no. 1708 (1985): 350. http://dx.doi.org/10.2307/964035.
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Criswick, Mary. "Guitar Plus." Musical Times 127, no. 1723 (1986): 567. http://dx.doi.org/10.2307/964402.
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Wade, Graham. "Guitar Duos." Musical Times 129, no. 1745 (1988): 349. http://dx.doi.org/10.2307/964753.
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Criswick, Mary. "Guitar Plus." Musical Times 128, no. 1731 (1987): 277. http://dx.doi.org/10.2307/965129.
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Criswick, Mary. "Guitar Duets." Musical Times 126, no. 1714 (1985): 737. http://dx.doi.org/10.2307/965210.
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Harris, Colette, and Meredith Alice McCutcheon. "Guitar, Vihuela." Musical Times 127, no. 1720 (1986): 390. http://dx.doi.org/10.2307/965247.
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Wade, Graham. "Contextualized Guitar." Musical Times 132, no. 1783 (1991): 449. http://dx.doi.org/10.2307/965651.
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Stetsiuk, R. O. "Varietal instrumental style as a performance-related phenomenon (case study: saxophone)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 154–73. http://dx.doi.org/10.34064/khnum1-54.10.
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This article substantiates the legitimacy of using the notion of “instrument’s style” in music performance studies. It was noted that the global nature of the style aspect in the system of artistic work pre-envisages its application to the field of organology – the science of instruments as “tools” or “organs” of musical thinking – as well. It was emphasized that, being part of the man-made, “second” nature, instruments per se do not have a style but represent its determinants within the framework of the notional axiom “style is person” (according to Georges-Louis Leclerc, Comte de Buffon). The instrument’s style is represented by creative personalities who create and perform music. This article generalizes and systemizes information about musical style in its extension onto the level of varietal instrumental stylistics, where the main classification criterion is the ratio between universalism and specifics of performance-related sound image. The article offers an original notion of “varietal instrumental style” that provides basis for the study of particular varieties and representations (in this case, saxophone) of this phenomenon. It was noted that a new system of perceptions of musical interpretation arises within the framework of music performance studies, thus causing special interest in varietal specifics of an instrument as the most important component of interpretation performance process. Performance of music is thought of as a true creative act in which the figure of interpreter stands out, represented in several versions: performing as such, mixed (composing-performing or performing-composing), and improvising. It was emphasized that comprehensiveness of the “style” category allows to extend its applicability to all (without exception) means of expressive-constructive complex of music, which in a concrete composition are manifested at the stylistics level. Among the most important stylistic components of a piece of music are instruments which do not have a style themselves but represent its determinants objectively existing in the practice of public music playing of various eras and periods, countries and regions. Complex properties of instruments are studied within the framework of a relatively new field of music studies called “organology”. According to an organological approach, instruments appear in their wholesome quality that includes timbre-acoustic and image-semantic values and characteristics, enabling them to be considered at the level of varietal style – the style of any music varieties (according to Valentina Kholopova). It was noted that musical instruments are dual by their nature. On the one hand, they are artifacts of civilizational culture categorized as phenomena of the “second”, man-made nature. On the other hand, they require obligatory presence of a human being – a performer-interpreter in whose work they get “humanized” (according to Boris Asafyev) and attain the qualities of style. Such an interpretation of the “instrument’s style” category can be found more and more often in music study works devoted to particular varietal instrumental styles: piano, guitar, violin and other. This article notes that the notion of “instrument’s style” correlates not only with the generalized perception of musical style with its branching into hierarchical levels but also with stylistics of a musical composition perceived as the set of the means of implementing a genre-style idea in the text of a musical image: composing (notational) and performing (acoustic). As a result, we have the notion of instrument stylistics existing within the wholesome system “instrument = musical composition” (according to Boris Asafyev). It was emphasized that instruments, like the style in general, are “material”, i.e. they are perceived sensibly, acting as objects of reality embodying intentions of author’s and performer’s artistic design. It was proved that in varietal instrumental stylistics, the most important aspect is the belonging of an instrument to a particular family and its correlation with instruments of other families. As for the saxophone style, its distinctive features from this viewpoint will include: a) characteristic particularities of sound image reflected via timbre and semantics (“timbre labels” according to Alexander Veprik), b) interim position within the system of aerophones – brass and wooden wind instruments. It was emphasized that parameters of the stylistic structure of a musical composition always correlate with its texture measured vertically, horizontally and depth-wise. The textural “configuration” always includes an instrument as the carrier of its intrinsic stylistics: historical, genre-specific, national, “personal”. Therefore, when reviewing a varietal instrumental style, including the saxophone style highlighted in this article, one has to use the following criteria: a) organological, b) varietal, c) genre-stylistic. On that basis, the article offers an original definition of the saxophone style as a performance- and composing-related phenomenon aggregately reflecting timbre-acoustic and image-semantic properties of an instrument, distinguishable for: a) interim position between wooden and brass aerophones, b) peculiarity of sound image tending toward universalism, i.e. toward assimilation of properties of a whole number of other musical instruments, and of not only wind but also other groups. The article’s concluding remarks note that saxophone stylistics manifest themselves the most fully in jazz, where this instrument is represented in the entire diversity of its artistic and technical capacities at the level of improvisation art that revives, at the new “orbit” of historical-style spiral, the centuries-old practice of musical instrumentalism.
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Fikri, Ioqo Alhamra, and Ardipal Ardipal. "PERUBAHAN STRUKTUR DAN ARRANSEMEN MUSIK GAMAD DI KOTA PADANG." Gorga : Jurnal Seni Rupa 8, no. 2 (2019): 369. http://dx.doi.org/10.24114/gr.v8i2.15279.
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AbstrakMusik Gamad merupakan sebuah kesenian khas dari kota Padang yang mana pada dasarnya secara musikologi kesenian ini masih tergolong dalam klasifikasi musik melayu namun memiliki keunikan tersendiri dikarenakan pantun-pantun yang menjadi syair lagu dinyanyikan dalam bahasa Minangkabau dan juga bersifat spontan.kesenian ini juga merupakan sebuah bentuk akulturasi dari beberapa budaya masyarakat yang ada di kota padang pada era perkembanganya hingga pada saat ini.dilatar belakangi oleh kedatangan bangsa portugis dengan budaya musik barat dengan cepat menjadi daya tarik bagi bumi putra dalam konsep bermain musik sehingga pada sebelumnya pantun hanya dinyanyikan oleh vokal dengan iringan gendang tradisional kemudian bertambah dengan alat musik seperti akordeon,biola dan gitar.musik gamad pun dengan cepat menjadi sebuah kesenain yang populer di kota padang,namun dengan seiring perkembangan zaman dan pergeseran nilai-nilai sosial yang terjadi dalam masyarakat kota padang turut mempengaruhi kesenian ini sehingga terjadilah perubahan struktur dan bentuk dalam arransemen musik gamad di kota Padang. Kata Kunci: gamad, struktur, bentuk, arransemen.AbstractGamad music is a distinctive art from the city of Padang, which is basically a musical artistry is still classified in the Malay music classification but has its own uniqueness because the poems are poetry sung in the Minangkabau language and are also spontaneous. This art is also a form acculturation of several cultural communities in the city of Padang in the era of its development until today. The background of the arrival of the Portuguese with Western music culture quickly became an attraction for the son of the earth in the concept of playing music so that in the past pantun was only sung by vocals with accompaniment traditional drum and then increased with musical instruments such as accordions, violins and guitars. Gamad music also quickly became a popular game in the city of Padang, but with the development of the times and the shifting of social values that occur in the city of Padang society also influence to this art so that there was a change in structure and shape in the gamad music arrangement in the city of Padang.Keywords: gamad, structure, shape, arrangement.
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Criswick, Mary. "Flute and Guitar." Musical Times 126, no. 1705 (1985): 163. http://dx.doi.org/10.2307/961677.
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Wade, Graham. "The Blue Guitar." Musical Times 130, no. 1761 (1989): 691. http://dx.doi.org/10.2307/1193802.
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Thomson, Andrew, Maurice Ohana, and Stephan Schmidt. "Works for Guitar." Musical Times 135, no. 1816 (1994): 398. http://dx.doi.org/10.2307/1003237.
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Duarte, John W. "Guitar on Record." Musical Times 132, no. 1777 (1991): 138. http://dx.doi.org/10.2307/965827.
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Wade, Graham. "Landscape with Guitar." Musical Times 132, no. 1780 (1991): 296. http://dx.doi.org/10.2307/966538.
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Criswick, Mary. "19th-Century Guitar." Musical Times 127, no. 1722 (1986): 502. http://dx.doi.org/10.2307/964602.
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Criswick, Mary. "20th-Century Guitar." Musical Times 127, no. 1726 (1986): 695. http://dx.doi.org/10.2307/964679.
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Criswick, Mary. "20th-Century Guitar." Musical Times 128, no. 1734 (1987): 442. http://dx.doi.org/10.2307/965019.
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Criswick, Mary. "Voice and Guitar." Musical Times 127, no. 1719 (1986): 341. http://dx.doi.org/10.2307/965088.
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Criswick, Mary. "East European Guitar." Musical Times 127, no. 1717 (1986): 156. http://dx.doi.org/10.2307/965503.
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Duarte, John, and Mauro Giuliani. "Abundance for Guitar." Musical Times 132, no. 1776 (1991): 81. http://dx.doi.org/10.2307/966603.
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Shemet, L. "Genre and style priorities of accordion performance in traditional common culture of USA." Culture of Ukraine, no. 72 (June 23, 2021): 150–55. http://dx.doi.org/10.31516/2410-5325.072.21.
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The relevance of the study is determined by the wide popularity of accordion in various genres and styles of American folk music, significant achievements of American accordionists in preserving and developing performing traditions in accordance with the ethnocultural specifics of a particular region of the country and presentation of creative achievements of famous American folk groups in the world music space, as well as by lack of the studies on this issue in the field of musicology in Ukraine.
 The aim of the study is to define the genre and style priorities of accordion performance in the traditional common culture of Americans, highlight the regional specifics of styles and genres of American folk music, in the reproduction of which the accordion is directly involved, as well as describe textural, articulatory and picking, metric and rhythmic features of playing the instrument.
 The methodology. The methodological basis of the study is the interaction of scientific approaches, among which an important place is occupied by historical, cultural, systemic, structural and functional, musicological methods.
 The results. In the traditional common culture of Americans, the performance on the accordion is presented quite diversely in terms of the instruments, distribution areas, genre, and style palette of music performed. Historical, sociocultural and geopolitical factors, ethnocultural influences, multicultural tendencies determined the regional specificity of the instruments. The Cajun accordion, the diatonic button accordion, and the chromatic piano accordion have gained considerable popularity in the traditional common culture of various regions of the United States. Each of them took leading positions in the reproduction of a certain musical style: Cajun accordion — Cajun and Zydeco, diatonic button accordion — Cojunto, chromatic piano accordion — Zydeco. The button (diatonic or chromatic) and piano accordions were mainly used in the instrumental composition of dance music groups, in particular in the genre of polka, depending on the region with the corresponding ethnic specificity. The accordion performance vividly embodies the genre and style features of American folk music in the context of its historical dynamics and capability of artistic expression, including intonation expressiveness and characteristic techniques of playing, inherent in a certain design model of the instrument.
 The topicality of the study is to reproduce the genre and style specifics of accordion performance in the traditional common culture of Americans.
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Crump, Matthew J. C., Gordon D. Logan, and Jerry Kimbrough. "Keeping an Eye on Guitar Skill: Visual Representations of Guitar Chords." Music Perception 30, no. 1 (2012): 37–47. http://dx.doi.org/10.1525/mp.2012.30.1.37.
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we investigate a role for vision in skilled guitar playing, focusing on visual contributions to the representation of basic first-position root chords (C, A, G, E, D). Experiment 1 involved naming or playing guitar chords displayed in different visual formats (letter, photograph, chart) and orientations. Experiment 2 employed a Stroop-like design, involving identification of the visual or auditory dimension for congruent or incongruent pairs of chord photographs and sounds. Our results demonstrate that visual representations of guitar chords are orientation sensitive and associated with their corresponding actions and sounds. We discuss the implications of our findings for understanding the multimodal nature of musical skill, and consider how the format of visual information can impact acquisition of musical skill.
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Anindita Roy Chowdhury and Naresh Sharma. "Scientific Numerical Pattern in Stringed-Fretted Musical Instrument." Mathematical Journal of Interdisciplinary Sciences 8, no. 2 (2020): 69–74. http://dx.doi.org/10.15415/mjis.2020.82009.
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Music, a creative art has a strong foundation on science and mathematics. Source of music can vary from vocal chord to various types of musical instruments. One of the popular stringed and fretted musical instrument, the guitar has been discussed here. The structure of the guitar is based on mathematical and scientific concepts. Harmonics and frequency play pivotal role in generation of music from a guitar. In this paper, the authors have investigated various factors related to the structure of a guitar. Aspects related to the musical notes of a guitar have been analyzed to gain a better insight into the mathematical pattern involved in the music of a guitar.
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Finkelshtein, Yulia A. "Igor Stravinsky and Academic Guitar Music." Observatory of Culture, no. 1 (February 28, 2015): 40–45. http://dx.doi.org/10.25281/2072-3156-2015-0-1-40-45.
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Presents the results of the study in classical guitar music by Stravinsky. The author considers three pieces by Stravinsky where he used guitar and his transcription of the “Four Russian songs” suite (version of 1953-1954) that included a guitar part. The specificity of interpretation of the tone quality, the instrument capabilities in Stravinsky’s understanding and the features of composer’s style apparent in this music cycle are revealed. The author also focuses on the bell ringing effects that are particular of the piece.
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Dunkel, Maria, and Marta Ramsten. "Folk Music in Sweden: Harmonica and Accordion." Yearbook for Traditional Music 29 (1997): 189. http://dx.doi.org/10.2307/768322.
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McKenzie, Don, Michael Tippett, and Julian Bream. "The Blue Guitar: Sonata for Solo Guitar." Notes 43, no. 1 (1986): 182. http://dx.doi.org/10.2307/897866.
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Bell, Adam Patrick. "Guitars have disabilities: exploring guitar adaptations for an adolescent with Down syndrome." British Journal of Music Education 31, no. 3 (2014): 343–57. http://dx.doi.org/10.1017/s026505171400028x.
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The guitar has a high value in cultural capital and we are immersed in a culture in which the guitar is the predominant vehicle of music-making. Given the guitar's mass popularity, it follows that the guitar-learning community is vast and diverse. Subscribing to the social model of disability, I problematise the guitar as being disabled and conducted an instrumental case study using the ethnographic tools of video-based observation, field notes and a semi-structured interview to chronicle the experience of teaching an adolescent with Down syndrome how to play the guitar. Different approaches to enabling the guitar are examined including open-tuning, standard tuning and a modified two-string guitar. Findings discuss the importance of the guitar to the participant as a percussive and rhythmic instrument and additionally as support for singing in the context of jamming.
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Mantasa, Dedi, and Yos Sudarman. "PENGGUNAAN APLIKASI BASIC GUITAR CHORDS 3D PADA PEMBELAJARAN SENI BUDAYA (MUSIK) DI KELAS VII SMP NEGERI 3 KECAMATAN HARAU." Jurnal Sendratasik 9, no. 3 (2020): 41. http://dx.doi.org/10.24036/jsu.v9i1.109436.
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AbstractThis study aims to describe the activities of Culture and Arts (music) teachers in grade VII of SMP Negeri 3 Harau District, Lima Puluh Kota Regency in implementing music instruction using the Basic Guitar Chords 3D application for learning guitar at school. The use of this guitar playing application provides an opportunity for students to learn guitar playing virtually with a different learning atmosphere from how guitar learning was theoretically and practically conducted before.This study uses references to results from relevant research and several theoretical studies especially those related to learning and instruction, learning methods, guitar learning through application, and Culture and Arts (music) instruction in junior high school.This is a qualitative research with a descriptive analysis approach. The object of research was teachers’ activities in implementing music instruction in grade VII of SMP Negeri 3 Harau. The learning observed involves learning guitar under the topic of playing a string instrument in a musical ensemble. The research instruments used were observation notes, interview notes, and document studies. The results of the study explain that learning guitar using the Basic Guitar Chords 3D application can create new experiences for students in learning music using the android application. However, due to the fact that the use of this application coincides with learning musical ensembles under the Basic Competence of playing simple music, this application conceptually does not support learning musical ensembles by using actual musical instruments.However, the teachers’ thought to explain that playing music can be done through application surely gives a point, and it can be developed by the teachers in learning music at school.Keywords: Android application, guitar, learning, instruction, ensemble